JOHNNY
I mean... he looks as though he were
six months old -- or a year -- at
least.
JANE
Oh, Johnny, you're silly... but don't
you think he's just beautiful?
JOHNNY
(dodging)
I hope he grows up to look like you.
JANE
How can he? He has all your features.
JOHNNY
I don't see how you can tell that by
looking at that face.
CLOSE UP - BABY
Who looks like no one on earth.
JANE'S VOICE
Just look at the way his eyes
crinkle... Just the way yours do
when you're happy.
BACK TO SCENE
JOHNNY
He doesn't look happy. He looks kind
of bored.
JANE
Well, you'd be bored too, if you'd
been through what he has... But don't
you think he's just beautiful?
Johnny has put out his hand. The baby has gripped his finger.
INSERT: Baby's finger gripping Johnny's
JOHNNY'S VOICE
Boy, what a grip!
BACK TO SCENE
JANE
(tenderly)
But don't you think he's just
beautiful!
FADE OUT:
FADE IN:
INT. APARTMENT BATHROOM - NEXT MORNING (LATE SPRING)
OPEN on CLOSE SHOT BABY in portable canvas babies' bath set
up in bathroom. Jane's hands are sponging the baby.
JOHNNY'S VOICE
Well, fella, how do you like your
first bath?
CAMERA DRAWS BACK to reveal Jane, in house gown giving the
baby its first bath at home. Johnny, in shirt sleeves, is
sitting on the edge of the tub, fascinated. Mrs. Mason stands
alongside watching and coaching. The advent of the baby has
materially changed the appearance of the bathroom. A
clothesline is rigged across the room and on it hang three
diapers held by clothespins.
A baby's scale sets on the closed seat of the toilet, or on
a clothes hamper or etc. Jane handles the baby very gingerly.
MRS. MASON
Be sure you soap his head thoroughly.
It prevents cradle-cap.
JANE
(still pleasantly)
Yes, Mother. I know.
MRS. MASON
(more baby talk to
baby)
Ittie Johnny doesn't want nasty old
cradle-cap, does oo?
JOHNNY
Look at those shoulders! Can I do
something Jane?
(pleadingly)
Please!
He reaches for baby as Jane lifts him out of the water. This
movement makes Jane almost let it slip through her hands and
she exclaims in fright:
JANE
(panicky)
Now look what you've done! I almost
dropped him! Do move over, Johnny --
please!
Her back to CAMERA, she holds the baby in her arms as she
pulls over the canvas top of the tub and lays the baby on
it.
MRS. MASON
If you'd let me show you how --
JANE
(not quite so
pleasantly)
I know how. They showed me at the
hospital.
(she is now drying
the baby, her back
still to CAMERA)
MRS. MASON
You don't rub the baby dry. You just
pat him.
JANE
(beginning to wear
thin)
I am patting him.
MRS. MASON
He looks red. Maybe the water was
too hot.
JANE
(pleasantly)
No, Mother. It was just right. I
tested it.
MRS. MASON
(to baby in baby talk)
Was its 'ittle water too hot for
ittie Johnny?
JANE
(she turns to Johnny)
Johnny, will you hand me his shirt?
Johnny reaches for the wrong garment.
JANE
Not that one! This one.
She gets the shirt, starts to put it on.
JOHNNY
(admiringly)
Look at the chest on him!
(eagerly)
Can't I help?
Neither woman pays any attention to him.
MRS. MASON
Be careful of his little head, my
dear.
JANE
(still pleasantly)
I will, Mother. Johnny, you'd better
go in the kitchen and warm his milk.
PAN WITH JOHNNY as he starts out of the room. He almost
collides with the clothesline and has to stoop in order to
get by it; almost knocks over the scales as he exits.
MRS. MASON
(calling to Johnny)
Not too hot, John!
CLOSE SHOT - JANE
The baby is now all dressed for the night, and Jane has him
safely cradled in her arms.
JANE
(fervently)
Hallelujah!
(with great sigh of
relief)
He's bathed!
DISSOLVE TO:
INT. LIVING ROOM - AT CRIB
Mrs. Mason stands over the crib. Jane is wearily stretched
out in a chair near the crib, her arms and legs stretched in
fatigue, her eyes closed: the mother just back from the
hospital. The baby is crying lustily. They look harassed.
MRS. MASON
A touch of colic.
JANE
(without opening her
eyes -- wearily)
No, Mother, he's just hungry.
MRS. MASON
(with maddening
tolerance of her
daughter-in-law's
stupidity)
I'm sorry, my dear, but it's colic...
He's been crying for five minutes.
Jane closes her eyes and controls herself with effort.
JANE
(sitting up a little,
calling impatiently)
Johnny! Where's that bottle!
Johnny comes in from kitchen, triumphantly carrying the baby's
bottle.
JOHNNY
(goes toward the crib)
Here, fella -- the feed bag!
CLOSE SHOT - JOHNNY AT CRIB
The baby still squawling -- Johnny trying to put the bottle
into its hands.
CLOSE SHOT - BABY
Baby's hands fighting off bottle, as he continues to bawl.
CLOSE SHOT-JOHNNY
Jane comes into scene. She yanks the bottle from Johnny.
JANE
They don't eat with their hands, you
dope!
She rolls up her sleeve and tests the temperature of the
milk by spilling a few drops on her forearm, looking at Johnny
in a superior manner and shaking her head. She lowers the
bottle toward the crib.
CLOSE UP - BABY
As Jane forces the bottle into its mouth. His squawling ceases
instantly and he sucks the nipple with vehement appreciation.
MEDIUM SHOT
Again Jane goes to chair and sinks down wearily. The doorbell
rings. Johnny exits to answer it. Jane looks at the contented
baby, then speaks to Mrs. Mason:
JANE
(lies back in her
chair, closes her
eyes)
You see Mother, he was hungry.
MRS. MASON
If he were fed on time he wouldn't
cry.
JANE
(Her eyes still closed,
her hands tighten on
the arm of the chair)
As soon as we're organized...
MRS. MASON
(interrupting)
Too bad he has to be fed on a bottle.
JANE
(sighs -- grimly)
I haven't heard the baby complain
yet.
MRS. MASON
John never saw a bottle till he was
six months old.
CLOSE UP - JANE
Controlling herself, speaks as inaudibly as possible --
practically to herself:
JANE
(as she speaks she
clenches her hands
on the arms of the
chair)
I won't say anything. I won't say
anything. I won't say anything...
MRS. MASON'S VOICE
What's that, my dear?
BACK TO SCENE
Johnny comes in -- carrying a flat, small package already
half unwrapped.
JOHNNY
What do you think? It's a present
from old Granite Puss...
He sits down beside Jane, starts unwrapping the package.
JANE
I'll bet it's a summons.
JOHNNY
No -- it's a bank book.
INSERT:
Johnny's hands finishing opening package. It contains a bank
book showing that an account has been opened in the name of
John H. Mason, Jr, with an opening deposit of $10.00 -- and
accompanying it is Judge Doolittle's business card.
Johnny's hand turns the card over. On it is handwritten:
"A penny earned is a penny saved."
CLOSE SHOT - GROUP
JOHNNY
He's deposited Ten Dollars.
(he hands Jane the
open bank book.)
Mrs. Mason glances over Jane's shoulder.
JOHNNY
Say -- that's a lot of money for the
little guy.
JANE
I hope it doesn't plunge Doolittle
into bankruptcy.
JOHNNY
After that hospital bill he's got
more cash in the bank than I have.
MRS. MASON
(very superior)
I think it's very considerate of
Judge Doolittle to think about the
baby's future.
JANE
I'm not worried about his future --
It's the present that bothers me...
Where are we going to put him?
JOHNNY
Why can't he stay in our room?
JANE
You know he kept you awake last night.
MRS. MASON
(with demure over-
sweetness)
You should have taken that into
consideration, my dear, before you
rented this apartment.
JANE
(too tired to argue)
I know. I should have.
MRS. MASON
If my own room weren't so small --
JANE
(sweetly, forgetting
and forgiving what
she's been through)
Oh, I wouldn't think of it, dear.
CLOSE SHOT AT DOOR - LEADING TO ENTRY HALL
Hilda, the current cook, stands listening.
JOHNNY'S VOICE
We could keep him in our room days
and in the living room nights.
JANE'S VOICE
That's too far from the bedroom.
JOHNNY'S VOICE
Well, in the dining room, then.
JANE'S VOICE
It's too near the kitchen -- but I
suppose we'll have to.
Hilda shows that she doesn't relish the idea of the baby
being near the kitchen. She coughs to attract attention.
HILDA
Mrs. --
JANE'S VOICE
Yes, Hilda?
HILDA
(Swedish accent)
Could I please see you a minute?
Jane comes into the Shot.
JANE
What is it, Hilda?
HILDA
Your mother-in-law hired me when you
was away -- but she didn't say why
you was away --
JANE
(tight-lipped)
You mean you don't approve of my
having a baby?
HILDA
That's your business. You can have
as many babies as you like.
JANE
(grimly)
Thank you. That's big of you.
HILDA
But my business is cooking. You get
somebody else to wash the diapers.
She turns and starts to exit. Jane calls after her, almost
tearfully:
JANE
You're --
(with a wail)
you're fired!
Hilda pays no attention to this parting sally but continues
her march across the room.
Hear Johnny's Voice as Jane turns back into room:
JOHNNY'S VOICE
(talking to baby --
very cheerful,
oblivious to all the
agony)
Don't you worry, Johnny --
FOLLOW JANE AS SHE GOES BACK INTO THE LIVING ROOM and sinks
again into chair, almost exhausted.
CLOSE SHOT - JANE IN CHAIR
Speaks softly, almost to herself:
JANE
I wish I could go back to the
hospital.
CLOSE SHOT - CRIB
Johnny talking to the baby.
JOHNNY
As soon as the lease is up we'll get
a house in the country with a room
all your own -- and a garden to ride
your bicycle in, and --
(he stops suddenly,
open-mouthed, and
looks up at Jane and
his mother)
Look! Mother! Jane! Look -- the baby!
He's smiling -- he's smiling at me!
Mrs. Mason bends over the crib... Jane runs in to look.
CLOSE UP - BABY
smiling.
BACK TO SCENE
MRS. MASON
(straightens and shakes
her head
condescendingly)
That's gas!
FADE OUT:
FADE IN:
INSERT: INVITATION
TENTH REUNION
CLASS OF '28
You'll see all the Old Faces Wednesday Evening, October 5th
HOTEL ASTOR BLUE ROOM
Make Your Reservations Now!!
Over this comes the sound of a clock starting to strike
twelve.
DISSOLVE TO:
INT. ENTRY HALL - JANE AND JOHNNY'S APARTMENT - NIGHT
The hall is lighted only by a dim light from the living room.
The sound of the clock striking continues. The sound of a
key turning in the lock, the door opens, and Johnny enters.
He is in dinner clothes, black overcoat, and scarf. He seems
unusually dejected. He softly closes the door behind him and
starts on tiptoes toward the bedroom, CAMERA TRUCKING WITH
HIM. Attracted by the light from the living room, he stops
in the doorway and looks in at:
INT. LIVING ROOM - CLOSE SHOT - JANE ON DIVAN
(from his angle) Jane, in a warm bathrobe, is curled up
asleep. On the floor by the divan is an open book, face up.
A lamp on a nearby table is the only light in the room.
CLOSE SHOT - JOHNNY
He tiptoes into the room, taking off his hat as he crosses
and sits down on the floor near the divan, looks at Jane a
moment, moody and licked. Then he notices the open book on
the floor. He puts his elbows on his knees, cups his chin
and stares at the open book.
INSERT: BOOK
It is a year book of Johnny's college, open at the page
bearing Johnny's picture. Over Johnny's picture, the words
"Class of 1928" and under Johnny's picture:
"Most Likely to Succeed" JOHN HORACE MASON
CLOSE SHOT - DIVAN
Jane stirs and opens her eyes, sees Johnny.
CLOSE UP - JOHNNY
(from Jane's angle) Unaware Jane has awakened, his expression
still moody and despondent, staring at the book.
CLOSE UP - JANE
From her expression we know that now she understands Johnny's
mood.
MEDIUM SHOT
Smiling, Jane sits up, puts her arms around Johnny and kisses
him.
JANE
How was it, Johnny?
JOHNNY
Oh, swell.
JANE
Who was there?
JOHNNY
Oh, just the same old crowd, only
ten years older.
JANE
Who spoke, Johnny?
JOHNNY
Ed O'Malley made quite a speech --
all about how he bought that seat on
the stock exchange. And then Joe
Kendall -- just got back from opening
up a London office --
JANE
Did you make a speech?
JOHNNY
Yeah.
JANE
What did you say?
JOHNNY
You know -- the things you have to
say at a reunion. Nothing much.
JANE
(insists)
What did you say, Johnny?
JOHNNY
Well, my speech was pretty short.
What would I have to say?
(bitterly -- Johnny
sees book on the
floor)
The man most likely to succeed.
JANE
Well, I think you have and I bet
your speech was swell.
(they kiss)
Did you tell them that funny story
you told me yesterday?
JOHNNY
No -- no, I didn't think of it. All
I could think of was my achievements --
What I've accomplished and how far
I've gone. I suppose I should have
told them how I used your money --
all of it -- to buy the furniture
for this apartment.
JANE
Now, that's silly. Your money -- my
money -- what's the difference? It
wasn't much anyway.
JOHNNY
I should have told them how the baby
has to sleep in the dining room --
JANE
Well, what of it? And it's only
temporary -- till we get a new
apartment --
JOHNNY
(over Jane's dialogue)
-- because I can't afford to get you
a decent place to live --
JANE
Stop it! Don't say those things!
Sometimes I get so mad at you I can't
see straight.
JOHNNY
Sometimes I get so mad at myself I
can't see at all!
JANE
I know what happened -- the dinner
disagreed with you. What did you
have?
JOHNNY
I don't know -- I didn't eat any of
it.
JANE
Now I know what's wrong -- you're
hungry!
(she rises, grabs his
arm and yanks him up)
C'mon, honey, I'll get you something
out of the ice box.
(she starts to pull
him from the living
room)
DISSOLVE TO:
INT. KITCHEN
Johnny and Jane enter. Jane proceeds to the ice box, opens
it and starts to pry into it, taking things out.
JANE
Now let's see. Here's some cheese
you like. And a whole cold chicken
staring us right in the face. Which?
JOHNNY
Chicken.
Jane takes the platter and puts it on the kitchen table.
JANE
The trouble with you is you let people
step on you! You do all the work in
that office... Coffee?
JOHNNY
No. Milk.
Jane takes milk from the ice box and sets it on the table.
JANE
You've forgotten more about law than
Carter'll ever know. How do you expect
people to recognize your value if
you don't recognize it yourself?...
White or rye?
JOHNNY
Rye.
She goes to bread box -- rummages in it.
JANE
They couldn't get along without you
for one minute -- and you know it!
Everybody knows it!
She gets bread knife and starts to butter bread.
JOHNNY
(eats a leg of chicken)
Everybody but Doolittle.
JANE
He knows it too! But he takes
advantage of you. I told you when he
promoted Carter over your head that
you should have quit -- walk right
out on him!
JOHNNY
Now, Jane, how could I? What about --
JANE
I know -- your mother and I. I wish
you'd forget about us.
JOHNNY
If I lost my job --
JANE
But you wouldn't! They'd never let
you go! You're far too valuable! If
you left, Doolittle would crawl to
you on his hands and knees and beg
you to come back.
JOHNNY
(wry laugh)
On his hands and knees! You don't
know Doolittle.
JANE
I know you! All you've got to do is
speak up -- stand right up to
Doolittle! Don't ask for your rights --
demand them!
He reaches for her hand and looks at the simple wedding band
on one finger.
JOHNNY
Remember the day in Boston when I
got you this ring -- I promised to
get you a better one later?
JANE
I don't want a better one later.
JOHNNY
You liked the platinum one with the
diamonds.
JANE
That can wait.
JOHNNY
And the mink coat can wait too, I
suppose. Probably in about three
hundred years I can afford to buy
you one.
JANE
What are you -- a man or a mouse?
JOHNNY
A mouse!
Jane grabs the kitchen knife and waves it in front of Johnny
as she talks:
JANE
John Mason, you know what's the matter
with you? You're too modest. You
don't appreciate yourself... I do
want that platinum ring! And I want
a fur coat -- not the mink -- but a
fur coat! And I want a honeymoon on
the Normandie! And I want an apartment
that's big enough for your mother
and the baby -- so the baby wouldn't
have to sleep in the dining room!
You can get them for me! You can get
everything I want -- everything that's
coming to me! But first you've got
to get what's coming to you!
JOHNNY
If I only knew how to go about it --
JANE
It's easy.
JOHNNY
You think it's easy.
JANE
You just walk right into the office
and you say --
JOHNNY
Jane, you don't walk into Judge
Doolittle's office. He sends for
you.
JANE
Well, this time you walk in. You go
right up to him and you say: "Judge
Doolittle, there's something I've
got to say to you right now."
JOHNNY
You can't talk to him like that
though.
JANE
Have you ever tried?
JOHNNY
Now Jane, you don't understand. If I
barged in there like that he'd --
he'd --
JANE
He'd say -- "What is it Mason? Sit
down."
JOHNNY
He never asked me to sit down in his
life.
JANE
Well then stand up. But don't let
him interrupt you. Speak your piece.
JOHNNY
Yeah -- well now that -- speak your
piece. It's easy to do here in the
kitchen. You get downtown...
JANE
Well, downtown or uptown, what
difference does it make? You're not
asking a favor of him. You're
demanding your rights. He'll listen.
Make him listen.
JOHNNY
All right -- okay -- all right --
what'll I say?
Jane has been gathering up the foodstuffs. She shoves what's
left of the chicken into the ice box, turns out the light
and they start out of the kitchen.
JANE
You'll say --
INT. DINING ROOM
Jane and Johnny enter and start through to entry hall.
JANE
(continuing)
"Judge Doolittle, I've been working
for you now for five years and I've
given you everything that's in me --
every ounce."
They stop at the crib, look down at the sleeping baby. During
the rest of the scene Jane changes the baby's diaper as they
talk. Johnny is still chewing on the leg of chicken.
JOHNNY
Well, all right -- what'll he say?
JANE
There's no doubt about it, Mason.
I've never questioned your ability
or your loyalty --
JOHNNY
And I'll say --
JANE
Judge Doolittle -- what're you going
to do about it?
JOHNNY
I hate to think what he'll say!
JANE
He'll say: Mason, what do you expect
me to do? And you'll say: The right
thing, Judge Doolittle... I want
more money and I want to be taken
into the firm! And he'll say:
JOHNNY
He'll say plenty!
JANE
No matter what he'll say -- you'll
say:
Jane has finished changing the baby. With a last fond look,
she turns and starts into the bedroom, Johnny following.
INT. BEDROOM
Jane and Johnny enter. Jane still talking.
JANE
(speaking as if she
were addressing Judge
Doolittle in person)
Judge Doolittle, I either get a raise
and a junior partnership or else --
(Johnny waits
breathlessly)
Or else you can accept my resignation,
effective immediately.
JOHNNY
(with grim
determination)
Effective immediately. That's all
right, Jane. That's a good idea. I'm
going through with it -- one of these
days.
JANE
One of these days is tomorrow.
JOHNNY
(aghast)
Tomorrow?
JANE
Tomorrow morning at ten o'clock.
JOHNNY
Well -- if you think I should!
JANE
(vehement)
There's no time like the present.
JOHNNY
(gulps)
Let's start at the beginning, Jane.
I'll walk into his office and I'll
say --
JANE
Judge Doolittle, there's something
I've got to say to you right now!
JOHNNY
(waving his shoe at
his reflection in
the mirror)
Judge Doolittle, there's something
I've got to say to you right now!
JANE
Either I get a raise and a junior
partnership --
JOHNNY
Either I get a raise and a junior
partnership --
JANE
Or you can accept my resignation --
JOHNNY
Or you can accept my resignation --
(without Jane's cue)
Effective immediately.
JANE
(tenderly and proud)
Effective immediately!
JOHNNY
Not bad.
DISSOLVE TO:
INT. BEDROOM - CLOSE SHOT
An alarm clock on the night table next to Johnny's bed. It
registers shortly before three a.m. CAMERA PANS over to Jane.
She is asleep. She wakes suddenly and looks over toward
Johnny's pillow, sees that it's empty, then attracted by a
sound, looks toward window.
CLOSE SHOT - AT WINDOW
Silhouetted in the moonlight is a figure in pajamas. It is
Johnny, gesticulating fiercely, rehearsing in a sibilant
whisper.
JOHNNY
I've been working in this office for
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